In a New Light - Alice Schille and the American Watercolor Movement

Alice Schille and the American Water Color Movement

Alice Schille and the American Water Color Movement Kathleen A. Foster TaraR. Keny James M. Keny Nannette V. Maciejunes Christopher S. Duckworth, Editor

The Columbus Museum of Art

THANK YOU TO OUR GENEROUS DONORS FOR THEIR SUPPORT.

The Charles l{leibacl,er Endowed Fund for Excellence

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Ongoing Support

THE COLUMBUS FOUNDATION

Greater Columbus Arts Council

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Nationwide Foundation

with Philadelphia Museum of Art Senior Curator Kathleen A. Foster, whose decades of research on the origins and development of watercolor painting in America have culminated in her recent exhibition and catalog Amer­ ican Watercolor in the Age of Homer and Sargent. Her extensive work has underscored Schille's pioneering role in the history of the medium. We are grateful to Kathy for her encouragement of this project in its early stages as well as for her thoughtful and articulate preface to this volume. We are equally grateful to the co-curator of this show, Jim Keny, who has championed and researched Schille's art over the years. We also are delighted to welcome his daughter and fellow co-curator, Tara Keny.

Her extensive and careful parsing of the archival record inform her essay for this catalog. With the support of a Robert V. Storr Grant, Tara recently presented a shorter version of this essay at the Association of Art History held at the Courtaud Institute in London in 2018. Her contributions to the re-emergence of Alice Schille's story has enriched this exhibition's scholarly contribu­ tion immeasurably. That Tara was able to mastermind In a New Light while fulfilling her duties as a Curatorial Assistant in the Department of Prints and Drawings at the Museum of Modern Art speaks to her extraordinary dedication to Schille's legacy.

From the Museum's staff, we wish to thank inaugural Roy Lichtenstein Curatorial Fellow Daniel Marcus, who assisted Tara and Jim in bringing In a New Light to frui­ tion. We also are grateful to Associate Registrar of Exhibi­ tions Nicole Rome for her skillful handling of exhibition loans and logistics. As always, we extend sincere thanks to Greg Jones and his talented team for their contribu­ tions to the design and execution of the exhibition.

Several colleagues of longstanding have contributed to the success of this and other Museum publications.

Former CMA Director of Publications and Executive Editor Christopher S. Duckworth, today president of Brevoort Press, has edited all text and supervised the production. Neil Wengerd, creative partner of Nonfic­ tion, a Worthington-based design and branding company, conceived and brought to life this sensitive and beautiful catalog, their second CMA publication. West-Camp Press of Westerville, who printed and handled myriad production details for In a New Light, has produced more than a dozen Museum books - always beautifully.

Additionally, Alan Geho of Ralphoto provided his expertise in photography. We also thank Tim Keny, Carol Snyder, and Eric Barth ofKeny Galleries for their invalu-

able assistance in orchestrating loans, professionally administrating the myriad tasks associated with the production of the exhibition catalog, and facilitating shipments.

This exhibition would not have been possible without the generosity of numerous individual lenders, many of whom are from Central Ohio - Alice Schille's hometown and the region where her impact has been most widely felt. We extend our heartfelt thanks to these lenders whose devotion to the artist has sustained her legacy, allowing new generations to explore and enjoy her art.

In a New Light has been supported by a generous lead gift from the Charles Kleibacker Endowed Fund for Excellence, which subsidizes this and other orig­ inal scholarly projects, exhibitions, and programs at the Museum. We also thank the many friends of this exhibition and catalog who made this venture possible.

And we thank the Nationwide Foundation, the Ohio Arts Council, and the Greater Columbus Arts Council for their continuing - and essential - support of the Columbus Museum of Art.

NANNETTE v. MACIEJUNES Executive Director and CEO Columbus Museum of Art

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sell, and win critical attention. As the chronology and critical responses compiled in this catalog demonstrate, Schille worked this new circuit with tireless ambition, sending her work from her home in Columbus to venues including Boston, Chicago, New York, Philadelphia, and Washington. In 1917-18, enjoying at a high point of critical esteem, her work traveled to at least seven cities in a group show of six accomplished women artists, including Mary Cassatt and Jane Peterson. 4 Her determination to be seen alongside the best of her contemporaries-both men and women--was matched by a will to learn and improve, and the courage to travel fearlessly, like Peterson, to new sites of inspiration in Paris, Tunis, Istanbul, Gloucester, the American West, and beyond.

In her many adventures, Schille understood watercol­ or as a traveler's medium, perfect for spontaneous plein air work. She also found it welcomed her exploration of progressive visual strategies, as she moved from the wet, grayed Impressionism of the Dutch "Hague School" and W histler to the bright, dotted and broken color of Neo-Impressionism and Fauvism [fig. 1). In her hands, watercolor demonstrated its utility as a modern medium, and a medium for modernists. Her brave, distinctive, and inventive work won her critical praise, patronage, awards from many exhibition juries, and election to many artists' societies. By 1920, at the age of fifty, Schille was easily the most versatile, accomplished, and progressive female watercolorist in the United States; surely she was the one most honored by her peers.

Her reputation then and now, a hundred and fifty years after her birth, makes for a provocative case study in the vagaries of art history, as it is constructed and reconstruct­ ed over time, and the particular difficulties faced by women artists. Forgotten outside of Columbus by the time of her death in 1955, her work has been rediscovered slowly since the 1980s, but even with the publication of a substantial monograph in 2001, Schille re­ mains underappreciated. 5 The arc of her rep­ utation offers a lesson in the spirals, rather than the tidy linear advance, of art and the history made of it. Progress won was undone.

Having risen in a period of opportunity for women and watercolor, Schille pushed further into bright, wet Fauvist work in the 1920s, but effectively dropped out of the national story when she ceased to exhibit her work as fre-

quently in the arenas she had conquered in the 'teens. 6 Although continuing to be well-known and often celebrat­ ed in Ohio, her later work was not seen or collected by the major museums on the East coast, where the national art history was written after 1930. Watercolor remained "the American medium" in the hands of Charles Burchfield, Edward Hopper, and John Marin, but the ascension in the 1950s of the large-scale, abstract painting of the New York School eclipsed the more intimate and realist watercolor tradition, first established by Homer and Sargent. Still widely popular, watercolor was no longer cutting edge.

Meanwhile, women artists struggled as men claimed job priority during the Depression and after World War II, and the feminist movement faded. 7 By the 1950s, the old hierarchies-in art and in gender roles-had been firmly re-established. It would take the wholesale reconsider­ ation of high modernism after 1980, not coincidentally accompanied by the rise of a new women's movement, to bring fresh attention to the many accomplished artists working in alternate styles, and in mediums other than oil painting and sculpture. Unsurprisingly, this moment of new scholarship and expanding taste, which embraced the many varieties and wider geography of modern art, drew Schille's work back into the spotlight. On the hun­ dred and fiftieth anniversary of her birth, it is a pleasure to celebrate her achievement again.

Figure 1.

Alice Schille, BowSprit, circa 1916-18 Watercolor and opaque watercolor over charcoal on wove paper, sheet (sight): 13 ¼ x 16 % inches (33.7 x 42.3 cm). Philadelphia Museum of Art, 2017201790-1, Pruchased with the E. Moran Endowment for American Art

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SCHILLE'S EXHIBITION HISTORY AND ITS RECEPTION

Schille's exhibition history and critical reception during her lifetime reveal the extent of her involvement in early modernist watercolor painting in the United States. She was accepted regularly into juried museum exhi­ bitions in Columbus, Cincinnati, Chicago, Philadelphia, Santa Fe, and Washington, and she concurrently showed in all of the major watercolor venues, including the New York and Boson Watercolor Clubs and the American Watercolor Society. 26 In January 1914, the City Art Museum of St. Louis hung several of her works in the annual exhibition Selected Paintings by American Artists beside artists George Bellows, Mary Cassatt, William Merritt Chase, Childe Hassam, and Edward Henry Potthast. The museum's director, R.A. Holland, brought the work of Schille and Cassatt together again in 1917 for a traveling exhibition entitled Paintings by Six American Women, which the Cleveland Bulletin described as "good evidence of the place our American women hold among modern painters."27 Mary Cassatt exhibited two paintings, 28 including The Boating Party [fig. 5], and Schille showed five oil paintings and two watercolors [fig. 6). The other four artists included in the exhibition were Johanna Hailman, Jane Peterson, Helen M. Turner, and Martha Walter. Holland's invitation letter to Schille blandished her and expounded how the exhibition developed: "at the last Figure 5.

Figure 6.

Figure 4. WOMAN'S EXHIBIT AT MACBETH'S," Arts and Decoration (November 1915), p. 37.

Alice Schille Archives, Keny Galleries Photograph Courtesy Keny Galleries Figure 5.

Mary Cassatt, The Boating Party, 1893-94, oil on canvas, 35 '¾ax 461/s inches (90 x 117.3 cm), National Gallery of Art, Washington, Chester Dale Collection, 1963.10.94

Figure 6.

Alice Schille, The Passing Years, 1913, watercolor, 20 x 23 ¾ inches (50.8x 60.3 cm). Columbus Museum of Art, Ohio: Gift of Mrs. Ralph Trivella

18

Figure 8.

Figure 7.

Evelyn Marie Stuart, "Girl with a Parrot," Fine Arts Journal, (May 1914), p. 207 Alice Schille Archives, Keny Galleries Photography Courtesy Keny Galleries

Figure 8.

Alice Schille, Gay Spots of Color on the East Side, New York, 1915, watercolor, 24 x 20 inches (50.8 x 60.9 cm) Collection of Mr. and Mrs. Charles Atwood

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young Ohio artists, some of whom exhibited on a national level. Her travels to popular art colonies allowed her to form dialogues with a diverse group of American artists and to share those exchanges with her students and colleagues. At the Columbus Art School, Schille taught drawing, portraiture, and watercolor courses until her 1948 retirement. In Febru­ ary 1933, at the Columbus Gallery of Pine Arts, she introduced students to Alfred Barr's Brief Survey of Modern Painting, a traveling exhibition of reproductions. In her notebook, she transcribed the familiar canon:

Fr. 8 a.m., Columbus Gallery of Fine Arts: 1) Painting from50 years ago 2) Cezanne and Post Impressionists 3) 20th Century painting: Part One: Matisse, Derain, Bonnard, Etc I Ex. 20th Century: Part Two: Picasso & Cubism, Futurism, Abstract De­ sign, Super Realism.41 That summer, at sixty-four years old, she took a course in modern painting and drawing taught by the artist Hans Hoffmann at the Thurn Art School in Gloucester, Massachusetts, which she meticulously docu­ mented for herself and her students. As an extension of the classroom, Schille took her art students on the road, chaperoning visits to exhibitions outside of Columbus, where she introduced them to fellow artists and Figures 11, 13.

Figure 12.

Figure 9.

Alice Schille, Blue Mountains, Adobe Houses, New Mexico, circa 1926, watercolor, 17 ½ x 20 ¾o inches (44.4 x 52.7 cm). Private Collection

Figure 10.

Olive Rush, Watercolor study for mural at Sandia School in Albuquerque, circa1930, Olive Rush papers, 1879-1967.

Archives of American Art, Smithsonian Institution.

Figure 12.

Alice Schille, Billowing Clouds, circa 1919-21, watercolor, 5 ½ x 5 ¾ inches (13.9 x 14.2 cm) Private Collection

Figure 11.

Gustave Baumann, San Geronimo, Taos, 1924, color woodcut, 71/s x 5 1/s inches (7.1 x 5.1 cm), Private Collection

Figure 13.

Alice Schille, Crossroads, New Mexico, circa 1926-35, watercolor, 171/s x 20 1/s inches (43.8 x 51.4 cm) Private Collection

22

Alice Schille's The Promenade at Night, with its Whistler-like quality of receding mysterious blue- blackness with its delicately painted people on the beach, with its tender human reality and then notice nearby... Louise Cox's Goldielocks,... and you see opposed purpose and influence...one by one, we find ourselves acquiring standards... and we see what American art has accomplished in the past decade." 44 Schille's watercolors were frequently compared to renowned contem­ porary artists, including Childe Hassam, Maurice Prendergast, and John Singer Sargent, especially when all four artists submitted to the same exhibitions. The Philadelphia Inquirer illustrated Schille's painting Pico alongside Sargent's Venice and Everett Shinn's When Paris Sleeps in 1906, with the caption "Some of the Most Notable Among the Exhibits" [fig. 20, next page). The jour­ nal Academy Notes, in a review of the 4 th Annual Exhibition of Selected Watercolors by American Artists held at the Albright Art Gallery, singled out Schille's submissions, noting their central display flanked by Childe Hassam's pastels: "On the west wall are three beautiful compositions

by Alice Schille...On the south wall, the center is held by A Poor Little Orphan by Alice Schille, per­ haps the finest of this artist's works- beautiful in sentiment and most admirable in color and tone. On either side are landscapes, in pastel,

by Childe Hassam." 45 Arts and Decoration illus­ trated Schille's watercolor Kaorn with Sargent's Boboli Garden in their review of the Philadelphia Water Color Club's 19th Annual Exhibition [fig. 19, Figure 18. next page], listing "famous names" such as "Alice Schille, F. Luis Mora, and Childe Hassam" who were "found in every one of the transepts and in the rotunda" in "a show of national importance."46 These examples attest to the fact that Schille's work was integrated with those of her male colleagues. Today, conversely, her work rarely hangs alongside these other artists.

Schille's contributions to the American watercolor movement were not only documented in the press but also in period books on the medium, where her techniques were described as exemplary. In 1920, the editor and critic Maude I. G. Oliver published an art manual for parents to use with their children. In the chapter devoted to "Media," Oliver illustrated the watercolor medium using examples of works by four American art­ ists: Henry Bacon (The Nile-Evening), John Singer Sargent (Unloading Plaster), Winslow Homer (The Conch Divers), and Alice Schille (The Melon Market) [fig. 21, next page). "Miss Schille, like Sargent," she explained of her pure-wash technique, "gets this brilliant look in a picture because she uses so much water- you may notice places where the thin wash­ es have run down in drops." The same watercolor, The Melon Market,

Figure 17.

Ray Kinsman-Waters, Goodale Market, circa 1920, watercolor and gouache, 23 1/5 x 19 9/,o inches (59 x 48.2 cm). Private Collection

Figure 18. Alice Schille, The Market Begins, circa 1911-12, watercolor, 19 ½ x 23 9 /,o inches (50 x 60.9 cm). Private Collection

Figure 17.

24

25

"Exhibitions in the galleries," Art and Decoration, vol. 6, no. 1, (November 1915): 37.

26

In 1904, Schille's work was shown at the Societe National des Beaux- Arts in Paris and subsequently at the American Water Color Society (1907-15, 1917-19, 1921, 1925, 1926, 1932), Art Institute of Chicago (1904-19, 1921-28), Boston Water Color Club (1908-09, 1911-16), Carnegie Institute, Pittsburg (1908-09), Cincinnati Art Museum (1909-10, 1914), Columbus Art League (1910, 1914-26, 1928-35, 1937-39, 1943-44), Corcoran Gallery of Art (1907-10, 1912). Her watercolors also hung in juried shows at the Ohio Water Color Society, the Philadelphia Water Color Club (at the Pennsylvania Academy of Fine Art) and the Society of Western Artists. Schille was elected member of the New York Water Color Club in 1907 where she exhibited almost every year until 1922. She was elected member of the Philadelphia Water Color Club in 1915, where she had exhibited from 1905-19. In 1908, Schille was elected Associate of the American Watercolor Society. In Columbus and Cincinnati she was given numerous solo shows.

An excellent resource for American Watercolor Society Annuals can be found on the Philadelphia Museum of Art's website at https://philamuseum.github. io/AmericanWatercolors, which contains links to all of the American Watercolor Society catalogs through 1922. This site is an essential resource for the study of American watercolors compiled by Kathleen A. Foster. It offers a general bibliography on American watercolor, a bibliography of periodical literature on American watercolor, c. 1860-1925, catalogs of the aforementioned annual exhibitions of the American Watercolor Society, records of the members of the New York Water Color Society, as well as a general bibliography on watercolor techniques and materials.

27

Bulletin of the Cleveland Museum of Art, vol. 5 (1918): 4.

28 Cassatt exhibited Party in a Boat and Woman with a Fan. Staff at Durand-Ruel on 12 East 57th Street corresponded with R.A. Holland, Director of the City Art Museum in St Louis, to coordinate the loans of these two paintings, as indicated by a letter sent on March 4, 1918, when they denied the request of extending the loan period through the months of October, November, and December of 1918. See: Archives Saint Louis Art Museum, "Director's Office General Correspondence," 1918, "C-F".

29 Archives Saint Louis Art Museum, "Director's Office General Correspondence," 1917, "S".

37 See: P. Seigel, " Olive Rush's Long Love Affair with Art," Indiana Magazine of History. (September 2014): 207-45.

30 An Exhibition of Paintings By Six American Women was organized by the City Art Museum director R. A. Holland with the curator Charles Percy Davis and his secretary Madeleine Borggraefe.

Beginning in December 1917 at the Carnegie Institute, Pittsburgh, it traveled to the Cleveland Museum of Art (January 1918), Cincinnati Museum Association (February 1918), Fine Arts Institute, Kansas City (March 1918), City Art Museum, St. Louis (April 1918), Memorial Art Gallery, Rochester, N.Y. (May 1918), and Hackley Art Gallery, Muskegon, Michigan (June 1918).

38

O'Keeffe may have lived briefly with Rush in New York in 1915, while Schille and Rush were participating in the women's suffrage exhibition at the Macbeth Gallery together. Rush became friends with several New Mexico artists. Bettina Raphael, a conservator in Santa Fe, has given lectures on Rush and claimed that O'Keeffe and Rush were close enough friends that they shared a cat named Anselmo. It is possible that O'Keeffe then knew Schille through Rush, and saw her New Mexican watercolors; both artists painted the play of light on the New Mexican Ranchos de Taos church, first Schille in 1919 and later O'Keeffe in 1929. For Bettina Raphael's statement on Rush and O'Keeffe's friendship see: "A Hoosier in Santa Fe: Artist Olive Rush," Pasatiempo (December 5, 2014).

Letters date between 1908-22 and are often directly from the Director and/or his secretary. After bringing a class of Columbus Art School students to visit the Carnegie Institute in the spring of 1908, Schille sent a note of gratitude from Ohio, indicative of the close relationship she fostered with the Carnegie: "We came home in high spirits, had a beautiful time on the train, that was because we were happy, n'est pas? Next day we made everyone envious with our account of the hospitality of Carnegie Institute and our enjoyment of the exhibition. Many of the students who did not go wished they did. Next year, I feel sure there will be a larger pilgrimage and even this year we have interested a number of people who will go over to see the exhibition later. We can't be sufficiently grateful for your own personal interest. Please express to Mr. Beatty our appreciation of his kindness and also to the men who gave us their time. Won't you be coming to Columbus sometimes or passing this way? Please let me know if you do... " Archives of American Art, Smithsonian Institution.

Carnegie Institute, Museum of Art records, Box 127, Folder 93, letter no. 834.

42

32 Art Institute of Chicago's Third Annual International Exhibition of Watercolors, Chicago Herald Examiner (April 22, 1923).

A clipping from an unidentified newspaper was published in the Columbus Art League History, vol. 3, Columbus, Ohio: Columbus Art League (1985), p. 71. The clipping is titled: "French View of the Art of Kinsman Waters," It mentions that Waters' watercolors had been recently reviewed in the Revue Moderne in Paris, translated as "Among the younger men in America whose work is stamped with rare individuality is Ray Kinsman-Waters" and Schille is mentioned as his influential teacher, "Sound training in the Columbus Art School, under Alice Schille, furnished the only foundation for Mr. Waters' work."

43

33 Evelyn Stuart, "Discussion of Girl with a Parrot," Fine Arts Journal: Devoted to Art, Music and Literature (January 1914): 207.

"The real value of the National Academy of Design," The Craftsman, vol. xxi, no. 5 (February 1912): 484-91.

44

Ibid.

45

"American Water Colors: Fourth Annual Exhibition of Selected Pictures at the Albright Art Gallery," Academy Notes (October 1908): 69.

31

34 "Studio-Talk", Studio International, v. 76 (1919): 146.

35

36

Hengst, Linda Shepard, "Alice Schille" Columbus Gallery of Fine Arts Monthly Bulletin 2, no. 6 (March 1932): 1, 3.

Ibid.

39 Alice Schille Archives, Keny Galleries, Columbus, Ohio.

40 Schille also purchased postcards and photographs in Mexico, assembling a remarkable library of period images that she shared with her students.

41 Journal, Alice Schille Archives, Keny Galleries, Columbus, Ohio.

46 Art & Decoration (December 1921): 165.

47

F. Curley, Art and Progress, vol. 2, no. 7 (May 1911): 202.

48 E. Castello, "The Philadelphia Art Club's Exhibition," Magazine of Art (1916): 73.

28

30

◄ Knitting, 1903 Watercolor, 23 x 17 inches Collection of Nedra and Richard Matteucci • Little Girls on a Flemish Doorstep, circa 1903 Watercolor, 13 ½ x 9 ½ inches Collection of Rosanne C. Guy ► The Red Petticoat, circa 1908 Watercolor, 20 ¾ x 16 ½ inches Collection of Mr. and Mrs. John F. Finn

46

48

◄ Idlers from the Market, circa 1907 Watercolor, 9 x 11 inches Collection of Mrs. Richard C. Deeg

50

◄ Nice, circa 1909-10 Pastel and watercolor, 10 ¾ x 7 inches Collection of the Musekgon Museum of Art. Purchased through the gifts of the Friends of Art; John J. Helstrom Memorial Fund of the Community Foundation for Musekgon County, in memory of his parents, Mathias and Ester Helstrom; and the Hackley Picture Fund.

◄ Mother and Child in a Garden, France Circa 1911-12 Watercolor, 23 ½ x 19 ½ inches Collection of Ann and Tom Hoaglin ► Reflections, Church Interior, France Circa 1911-13 Watercolor, 14 x 10 inches Private Collection

54

60

◄ Rainy Morning in Ragusa, 1909 Watercolor, 9 ¼ x 11 ¾ inches Collection of Mr. and Mrs. H. E. Schmidt Ill

64

◄ The Little White Room, circa 1911-12 Watercolor, 21 x 17 inches Collection of Ann and Tom Hoaglin .a. The Market Begins, circa 1911-12 Watercolor, 20 x 24 inches Private Collection ► Willows, Morning Effect, Le Puy, circa 1911-13 Watercolor, 20 x 28 inches Private Collection

68

76

In A New Light

82

In A New Light

◄ Gloucester Harbor, D. H. Lane Fish Company Circa 1916-18 Watercolor, 17 ½ x 20 ½ inches Private Collection

86

"" Beach Scene with Figures in Red, circa 1916-18 Watercolor, 10 x 12 inches Collection of Mr. and Mrs. John F. Finn ◄ The Blue Umbrella, Gloucester, circa 1916-18 Watercolor, 10 x 12 inches Collection of Robert and Cynthia Olmstead

88

1

·C

I

UJ

► Coral Rooftops , Pyrenees Village Circa 1925-30 Watercolor, 18 x 21 inches Private Collection

104

& Tunisian Nocturne, circa 1922 Watercolor, 21 x 18 inches Collection of Danielle and George Skestos

108

In A New Light

108

◄ Tunis, Africa (White Heat), 1922 Watercolor, 21 x 18 inches Private Collection .._ Mysterious Night, 1922 Watercolor, 17 ½ x 20 ½ inches Collection of Cordelia W. Robinson and Dr. Grant Morrow Ill

110

112

.A. Nocturne, Mexico, 1923 Watercolor, 20 ½ x 24 ½ inches Collection of John D. Kennedy ► Labor, circa 1934 Watercolor, 17 ½ x 20 ½ inches Collection of Alec and Kathy Wightman

118

Additional Venues: January 12-March 10, 1991, Terra Museum of American Art, Chicago, Illinois April 14-May 24, 1991, University Art Museum, University of Minnesota, Minneapolis June 23-August 2, 1991, The Butler Institute of American Art, Youngstown, Ohio September 3-0ctober 27, 1991, Kalamazoo Institute of Arts, Michigan 16

One Hundred Years: A Centennial Celebration of the National Association of Women Artists, October 16, 1988December 31, 1988, Nassau County Museum of Fine Art, Roslyn Harbor, New York Additional Venues: September 15-November 4, 1990, Albany Institute of History and Art, Albany, New York November 17-December 16, 1990, Fred Emerson Gallery, Hamilton College, Clinton, New York February 24-March 20, 1991, Tyler Art Gallery, SUNY at Oswego, New York April 7-June 23, 1991, Art Museum, The Museums at Stony Brook, New York July 2-August 18, 1991, Schweinfurth Memorial Art Center, Auburn New York September 14-0ctober 27, 1991, Arnot Art Museum, Elmira, New York December 1991-January 1992, Hyde Collection, Glen Falls, New York March 22-April 26, 1992, Edna Carlsten Gallery, University of Wisconsin, Stevens Point, Wisconsin September 1-September 30, 1992, Southern Museum, Portsmouth, Ohio

17 A Nation's Legacy: 150 Years of American Art from Ohio Collections, The Ohio Arts Council and the Columbus Mu­ seum of Art, Columbus, Ohio, January 19-March 15, 1992 Additional Venues: April 9-May 5, 1992, The Isetan Museum, Tokyo, Japan May 12-June 21, 1992, The Yamaguchi Prefectural Museum of Art, Yamaguchi, Japan June 27-August 2, 1992, The Fukushima Prefectural Muse­ um of Art, Fukushima, Japan August 7-September 6, 1992, The Takamatsu City Museum of Art, Takamatsu, Japan September 23-0ctober 5, 1992, Diamaru Museum Umeda, Osaka, Japan

21 Alice Schille: Ohio Artist, Her Innovative Spirit, April 22May 30, 2001, Canton Museum of Art: Ohio 22

23 In a Clear Light: The Triumph of Ohio Watercolor Painters: 1880 to 1967, April 25-July 20, 2003, Canton Museum of Art, Ohio Additional Venue: August 16-0ctober 5, 2003, Springfield Museum of Art, Springfield, Ohio 24

Triumph of Color and Light: Ohio Impressionists and Post-Impressionists, February 6-May 15, 1994, Columbus Museum of Art, Ohio Additional Venues: Autumn 1994, Springfield Museum of Art, Ohio March 14-April 30, 1995, Butler Institute of American Art, Youngstown, Ohio

20 Independent Spirits: Women Painters of the American West (1890-1945), October 13, 1995-January 28, 1996, Autry Museum of the American West, Los Angeles

Breaking with Tradition: Ohio Women Painters 18701950, November 3, 2005-January 8, 2006, The Ohio Arts Council's Riffe Gallery, Columbus, Ohio

25 Alice Schille: An Independent Spirit, February 3-June 4, 2006, Columbus Museum of Art, Ohio 26 Sunlight in a Paintbrush: American Impressionism from Regional Collections, May 1-August 31, 2008, Muskegon Museum of Art, Michigan 27

Regional Dialect: American Scene Paintings from the John and Susan Horseman Collection, 2008, Dixon Gallery and Gardens, Memphis, Tennessee Additional Venues: October 31, 2008-December 31, 2008, Cedarhurst Center for the Arts, Mt. Vernon, Illinois January 24, 2009-March 8, 2009, St. Louis Mercantile Li­ brary, St. Louis, Missouri April 5, 2009-June 21, 2009, The Dixon Gallery and Gar­ dens, Memphis, Tennessee August 1, 2009-0ctober 13, 2009, Zanesville Art Center, Ohio November 14, 2009-February 7, 2010, Mennella Museum of American Art, Orlando, Florida March 6, 2010-May 30, 2010, Morris Museum of Art, Au­ gusta, Georgia June 27, 2010-September 19, 2010,Springfield Museum of Art, Ohio

28

Alice Schille: The Early Years (1902-1914), October 27December 5, 2009, Capital University, The Schumacher Gallery, Columbus, Ohio

18 Alice Schille: The French Legacy: Watercolors from France and French North Africa, May 22-August 21, 1993, The Ohio Arts Council's Riffe Gallery, Columbus, Ohio 19

Ohio: The State of the Arts: A Celebration of Ohio's Rich Artistic Heritage, March 3-May 4, 2003, The Ohio Arts Council's Riffe Gallery and The Ohio Historical Society, Columbus, Ohio Additional Venues: June 1-July 26, 2003, Fitton Center for Creative Arts, Ham­ ilton, Ohio August 16-0ctober 5, 2003, Springfield Museum of Art, Springfield, Ohio October 20-December 31, 2003, Southern Ohio Museum, Portsmouth, Ohio January 11-March 14, 2004, Butler Institute of American Art, Youngstown, Ohio

29 Against the Grain: Modern in the Midwest, May 15-Septem­ ber 12, 2010, Massillon Museum of Art, Ohio Additional Venues: March 5-May 29, 2011, The Southern Ohio Museum, Ports­ mouth July 20-0ctober 2, 2011, Museum of Wisconsin, West Bend November 4, 2010-January 9, 2011, The Ohio Arts Council's Riffe Gallery, Columbus Ohio

128

bus, Ohio under the auspices of the Columbus Gallery of Fine Arts.

21

January 4, 1914, Columbus Dispatch, "Varied Show Full of Talent by Art League," review of the Fourth Annual Exhibi­ tion of the Columbus Art League .

22

July 31, 1914, Columbus Citizen, "200 Local Folk in Europe May Not Get Home On T ime," reprinted in "Columbus Fifty Years Ago Today," Columbus Citizen Journal, July 31, 1964.

23

August 25, 1914, Columbus Citizen, "Alice Schille Had Es­ caped the Warring Continent," reprinted in "Columbus Fifty Years Ago," Columbus Citizen Journal, August 25, 1964.

24 September 2, 1914, Columbus Citizen, "Alice Schille Was Awarded Six First Prizes ...at the Ohio State Fair," reprinted in "Columbus Fifty Years Ago," Columbus Citizen Journal, September 2, 1964.

25

November 15, 1914, Ohio State Journal, "Painting, Sculpture, and Modeling," review of the Exhibition of Paintings and Sculpture: Paintings by Miss Alice Schille: Sculpture by Miss May Elizabeth Cook.

26

November 15, 1914, Columbus Dispatch, "Palette and Brush" by H. E. Cherrington, review of Exhibition of Paint­ ings and Sculptures: Painting by Miss Alice Schille: Sculp­ ture by Miss May Elizabeth Cook.

27

December 1, 1914, Columbus Dispatch, "Art Exhibit to Stay One More Week."

28

December 4, 1914, Columbus Citizen, "Six Paintings by Alice Schille ... Would be Exhibited at the Panama-Pacific Exposition," reprinted in "Columbus Fifty Years Ago," Columbus Citizen Journal, December 4, 1964.

6th Annual Exhibition of the Columbus Art League.

37 February 23, 1916, Columbus Citizen, "Schille, Russell, Springer, Smith... ln Group Exhibit at Library," reprinted in "Columbus Fifty Years Ago." 38

October 7, 1916, Columbus Citizen, "Schille Came Home From Her Summer of Work Along the Atlantic Coast."

39 February 1917, Columbus Dispatch, "Influence of Modern Art Manifests in League Show" by H. E. Cherrington, review of 8th Annual Exhibition of the Columbus Art League.

40

41

February 1918, Ohio State Journal, "Art League's Annual Exhibit is One of Striking Beauty," review of the 8th Annual Exhibition of the Columbus Art League.

February 1918, Columbus Dispatch, "Palette and Brush" by H. E. Cherrington, review of the 8th Annual Exhibition of the Columbus Art League.

42 February 16, 1918, Ohio State Journal, "Splendid New Lighting System Will Enhance Beauty of Art League's Show, Open Tomorrow."

43

February 1918, Ohio State Journal, "Visitors at Art League Exhibit May Play the Role of Judges."

44

February 23, 1918, Columbus Dispatch, "With the League Artists," review of the 8th Annual Exhibition of the Colum­ bus Art League.

45

February 1, 1919, Ohio State Journal, "Art League's Exhibit Stirs Much Interest."

46

February 9, 1919, Columbus Dispatch, "Palette and Brush."

47

February 14, 1919, Ohio State Journal, "Toledo Critic to Pass on Works of Columbus Artists Sunday."

29

December 6, 1914, Columbus Dispatch, review of Exhibition of Paintings and Sculptures: Painting by Miss Alice Schille: Sculpture by Miss May Elizabeth Cook.

48

30

January 10, 1915, Ohio State Journal, "Art Exhibit at Library Seems Likely to Win Popular Appeal," review of the Ohio Painters Exhibition.

February 15, 1919, Columbus Dispatch, "Musicians Are to Help Attract Gallery Crowd to Annual Art League Exhibi­ tion."

49

February 16, 1919, Ohio State Journal, "Art Exhibit is Open: Award Prizes Today."

31

January 10, 1915, Columbus Dispatch, "Palette and Brush," review of Ohio Painters' Exhibition and Special Exhibition of Paintings by Alice Schille of Columbus, Ohio, at the Cin­ cinnati Art Museum.

50

February 17, 1919, Columbus Dispatch, "Toledo Director Praises Exhibit of Columbus Art," review of the 9th Annual Exhibition of the Columbus Art League.

51

32

January 17, 1915, Columbus Dispatch, "Palette and Brush," review of Ohio Painters' Exhibition.

February 17, 1919, Ohio State Journal, "Miss Schille Wins First Prize at Exhibit of Art League," review of the 9th Annu­ al Exhibition of the Columbus Art League.

33

February 14, 1915, Columbus Dispatch, review of the 5th Annual Exhibition of the Columbus Art League.

52

February 17, 1919, Columbus Citizen, "Prizes Awarded at Art Exhibit," reprinted in Columbus Citizen Journal, February 17, 1969.

53

February 23, 1919, Columbus Dispatch, "Palette and Brush"

by H. E. Cherrington, review of the 9th Annual Exhibition of the Columbus Art League.

54

February 23, 1919, Ohio State Journal, "Colony of Artists in Columbus Conducts Exhibit at the Library " review of the 9th Annual Exhibition of the Columbus Art League.

34 March 10, 1915, Columbus Citizen, "Alice Schille, Artist, Had 14 Water Colors Hanging in the Arlington Galleries in New York City," reprinted in "Columbus Fifty Years Ago," Columbus Citizen Journal, March 10, 1965.

35

36

August 18, 1915, Columbus Citizen, "Miss Alice Schille... Re­ turned from West Coast After Summering T here," reprinted in "Columbus Fifty Years Ago," Columbus Citizen Journal, August 18, 1965.

February 20, 1916, Ohio State Journal, "Local Artists Exhibit Reveals Work Well in Advance of that in Past," review of the

55 March 2, 1919, Columbus Dispatch, "Art League's Splendid Exhibit to Continue Two More Weeks," review of the 9th Annual Exhibit of the Columbus Art league.

130

92

93

September 5, 1922, Columbus Citizen, "Orton Bought Schille Painting Exhibited at Ohio State Fair for Columbus Chamber of Commerce," reprinted in "Fifty Years Ago," Columbus Citizen Journal, September 5, 1972.

January 24, 1923, Columbus Citizen,"Schille Opened a New Portrait-Painting Class in Columbus Art School," reprinted in "Fifty Years Ago," Columbus Citizens Journal, January 24, 1973.

94 February 11, 1923, Columbus Dispatch, "Prizes are Awarded in the Art League's Annual Show," review of the 13th Annual Exhibition of the Columbus Art League.

112

March 2, 1932, Columbus Dispatch, "People and Portraits in Gay Colors at Art Gallery Party."

113

March 3, 1932, Columbus Citizen, "Miss Schille in OneMan Show," review of Columbus Gallery of Fine Arts, A Retrospective Exhibition of Portraits and Water Colors by Alice Schille.

114 March 6, 1932, Ohio State Journal, "Alice Schille, Gallery Topic," review of Columbus Gallery of Fine Arts, A Retrospective Exhibition of Portraits and Watercolors by Alice Schille.

115 March 6, 1932, Columbus Dispatch, "Schille Show," review of Columbus Gallery of Fine Arts, A Retrospective Exhibition of Portraits and Watercolors by Alice Schille by LeRoy Johnson.

95

1923, Columbus Dispatch, "Palette and Brush," by James G. Thurber, review of the 13th Annual Columbus Art League Exhibition.

96

April 1, 1923, Ohio State Journal, "Columbus, Brilliant Daughter, Alice Schille, To Be Honored by Columbus Gallery of Fine Arts."

97

April 1, 1923, Columbus Dispatch, "Alice Schille to Feature in Show at Art Gallery, Also in Traveling International Water Color Show Also to be Exhibited in April."

98

April 5, 1923, Columbus Citizen, "Columbus Gallery of Fine Arts Opened a Show of Paintings by Miss Alice Schille," reprinted in "Columbus Fifty Years Ago," Columbus Citizen Journal, April 5, 1973.

99

April 13, 1923, Ohio State Journal, "Tobacco and Art are Mingled at Gallery."

100

April 14, 1923, Ohio State Journal, "Six of Miss Schille's Paintings Sold Here."

101

April 18, 1926, Columbus Dispatch, "Schille Show at Gallery," review of paintings and watercolors by Alice Schille.

102

April 19, 1923, Columbus Dispatch, "Columbus Pictures at Three Art Shows."

122

103

April 19, 1923, Columbus Dispatch, "The Work of Alice Schille Will Remain in the Gallery Until Next Saturday."

November 22, 1933, Columbus Dispatch, "Palette and Brush," by LeRoy Johnson.

123

104

December 1923, Columbus Dispatch, "The Name of 'Chris' in Art."

December 13, 1933, Columbus Dispatch, "Art League to Have Auction Monday."

124

105

1925, Columbus Dispatch, "Palette and Brush," review of the 15th Annual Exhibit of the Columbus Art League.

November 2, 1933, Columbus Citizen, review of the Ohio Water Color Society Exhibition.

125

December 15, 1933, Columbus Citizen, "Her Home Town is Proud of Her Achievements," by Rene Ryerson Mart.

106 May 1925, Columbus Dispatch, "Charles Rosen is Winner of First Art League Honor," review of the 15th Annual Exhibit of the Columbus Art League.

107

April 4, 1926, Columbus Dispatch, "Miss Schille to Show."

108

April 18, 1926, Columbus Dispatch, "Local Art Exhibit Now On."

109

September 10, 1926, Columbus Citizen, "Schille in Who's Who," reprinted in "Fifty Years Ago," Columbus Citizen Journal, September 10, 1976.

110

1930, Columbus Dispatch, "Prophets With Honor," by LeRoy Johnson.

111

May 1931, Columbus Dispatch, review of the 21st Annual Exhibition of the Columbus Art League by LeRoy Johnson.

116 March 13, 1932, Ohio State Journal, "Artist to be Honored," "Gloria Reeder Thinks Painting Nice Hobby."

117 February 1, 1933, Columbus Dispatch, "Two Watercolors

by President of Columbus Art League Appear in Local Exhibition: Other Women Artists Show Work," review of the Huntington National Bank Exhibition.

118 February 5, 1933, Columbus Dispatch, "Palette and Brush,"

by LeRoy Johnson, review of the Huntington National Bank Exhibition.

119

February 6, 1933, Columbus Dispatch, "Three Exhibits Feature February Hangings."

120

March 3, 1933, Columbus Dispatch, "Palette and Brush,"

by LeRoy Johnson, review of the 23rd Annual Exhibition of the Columbus Art League.

121 March 1933, Columbus Citizen, Benvenuto, "Art League Opens Its 23rd Show," review of the 23rd Annual Exhibition of the Columbus Art League.

126 February 18, 1934, Columbus Dispatch, "Art School Product."

127 March 1, 1934, Columbus Citizen, Benvenuto, "Work of Local Artists on Display During March at Gallery," review of the 24th Annual Exhibition of the Columbus Art League.

128 March 4, 1934, Columbus Dispatch, review of the 24th Annual Exhibition of the Columbus Art League by LeRoy Johnson.

129

March 13, 1934, Columbus Dispatch, "Local Artists Send Paintings to Exhibit."

130

May 1934, Columbus Dispatch, review of the 2nd Annual Huntington Bank Exhibition.

132

Brooklyn, New York January 28, 1909, Brooklyn Daily Eagle, "In the Art World," review of the 10th Annual Exhibition of the American Society of Miniature Painting.

2

February 28, 1909, Brooklyn Daily Eagle, "The Woman's Art Club," review of the inaugural Exhibition of Water Colors, Pastels, and Miniatures of the Woman's Art Club of New York at 18 East Forty-first Street.

3

February 15, 1910, Brooklyn Daily Eagle, "Various Picture Exhibitions of Timely and Artistic Interest to Be Seen This Week," review of Exhibition of Watercolors, Pastels, and Miniatures of the Woman's Art Club of New York.

4 January 9, 1927, Brooklyn Daily Eagle, review of Brooklyn Museum's biannual watercolor exhibition.

5

March 6, 1927, The Brooklyn Citizen, review of the 36th Annual Exhibition of the National Association of Women Painters and Sculptors at the Fine Art Galleries, 215 West Fifty-seventh Street, Manhattan.

9

May 9, 1911, Chicago Daily Tribune, "Exhibit of City Water Color Show," by Harriet Monroe, review of the 23rd Annual Exhibition of Water Colors, Pastels, and Miniatures by Amer­ ican Artists, Art Institute of Chicago.

10

May 7, 1912, Chicago Daily Tribune, "Sees Good Show in Water Colors," by Harriet Monroe, review of the 24th Annual Exhibition of Water Colors, Pastels, and Miniatures by American Artists, Art Institute of Chicago.

11

May 12, 1912, Chicago Daily Tribune, "Water Color Exhibit Affords Chance for Amateur Collector," by Harriet Monroe, review of the 24th Annual Exhibition of Water Colors, Pastels, and Miniatures by American Artists, Art Institute of Chicago.

12

December 22, 1912, Chicago Daily Tribune, Harriet Monroe, review of the 17th Annual Exhibition of the Society of West­ ern Artists, Art Institute of Chicago.

13

December 22, 1912, Chicago Daily Tribune, "H. G. Dearth Says Renaissance Was A Blight On Art," by Harriet Monroe, review of the 17th Annual Exhibition of the Society of West­ ern Artists, Art Institute of Chicago.

14

April 20, 1913, Chicago Daily Tribune, "Sixty Exhibits Save the Watercolor Show from Being Boring," by Harriet Mon­ roe, review of the 25th Annual Exhibition of Water Colors, Pastels, and Miniatures by American Artists, Art Institute of Chicago.

15

December 31, 1913, Chicago Daily Tribune, "Western Artists Exhibition Open," by Harriet Monroe, review of 18th Annual Exhibition of the Society of Western Artists, Art Institute of Chicago.

16

January 4, 1914, Chicago Daily Tribune, "Art Institute Portrait Charms Rembrandt Authority," by Harriet Monroe, review of 18th Annual Exhibition of the Society of Western Artists, Art Institute of Chicago.

17

May 7, 1914, Chicago Daily Tribune, Harriet Monroe, review of the 26th Annual Exhibition of Water Colors, Pastels and Miniatures by American Artists, Art Institute of Chicago.

18

May 10, 1914, Chicago Daily Tribune, "Art," by Harriet Mon­ roe, review of the 26th Annual Exhibition of Water Colors, Pastels and Miniatures by American Artists, Art Institute of Chicago.

19

November 28, 1915, Chicago Daily Tribune, "Art," by Anne Ellis, review of the 27th Annual Exhibition of Water Colors, Pastels, and Miniatures by American Artists, Art Institute of Chicago.

20

March 19, 1916, Chicago Herald Tribune, display advertise­ ment by Young & Company.

21

March 15, 1923, Chicago Heights-Star, "For and About Women," review of the 3rd International Water Color exhibi­ tion at the Art Institute of Chicago.

22

May 3, 1925, Chicago Daily Tribune, "Art and Artists" by Eleanor Jewett, review of the 5th Annual International Watercolor Exhibition, Art Institute of Chicago.

23

April 28, 1927, Chicago Daily Tribune, "Watercolor Exhibit is Brilliant Splash on Walls of Art Institute," by Eleanor

Buffalo, New York August 23, 1909, Buffalo Evening News, "Water Color Show and Coming Group of Whistlers," review of the 5th Annual Exhibition of Selected Watercolors by American Artists, Albright Art Gallery.

Chicago, Illinois January 1907, Chicago Herald, Isabell M. Dougall, review of the 11th Annual Exhibition of the Society of Western Artists, Art Institute of Chicago.

2

April-June 1908, Chicago Inter Ocean, review of the 20th Annual Exhibition of Watercolors, Pastels, and Miniatures by American Artists, Art Institute of Chicago.

3

May 23, 1909, Chicago Herald Tribune, "Portrait Studies in The Water Color Exhibition," by Harriet Monroe, review of the 21st Annual Exhibition of Watercolors, Pastels, and Min­ iatures by American Artists, Art Institute of Chicago.

4

May 1909, Sunday Record Herald, "Exhibition of the Week," review of the 21st Annual Exhibition of Water Color, Pastels, and Miniatures by American Artists, Art Institute of Chicago.

5

May 30, 1909, Chicago Daily Tribune, "American Salon in Pittsburgh," by Harriet Monroe, review of the 21st Annual Exhibition of Water Color, Pastels, and Miniatures by Amer­ ican Artists, Art Institute of Chicago, and of Exhibition of Paintings, Carnegie Institute.

6

7

8

May 10, 1910, Chicago Daily Tribune, "Three Art Exhibits at Institute," by Harriet Monroe, review of the 22nd Annual Exhibition of Water Colors, Pastels, and Miniatures by Amer­ ican Artists, Art Institute of Chicago.

May 15, 1910, Chicago Daily Tribune, "Current Exhibits at the Art Institute," review of the 22nd Annual Exhibition of Water Colors, Pastels, and Miniatures by American Artists, Art Institute of Chicago.

April 27, 1911, Chicago Daily Tribune, "Art Music, and Drama: Carnegie Exhibit Shows Good Portrait," by Harriet Monroe, review of the 15th Annual Invitational Exhibition, Carnegie Institute.

134

Galleries, New York, of the work of Alice Schille, Helen Wat­ son Phelps, Adelaide Deming, and Emma Lampert Cooper.

18

19

August 1, 1915, New York Times "Art at Home and Abroad: Awards at the Panama-Pacific Exposition," announcement of Alice Schille's gold medal at the Panama-Pacific Exposi­ tion.

September 1, 1915, New York Times,"Art Sale to Aid Suf­ frage. Prominent Women Offer Works for an Exhibition Here," review of the Exhibition of Painting and Sculpture

by Women Artists for the Benefit of the Woman Suffrage Campaign, Macbeth Gallery.

20 September 28, 1915, New York Herald, "Women in Show of Paintings and Sculpture Scorn Men, but Deify Babies for Suffrage," review of the Exhibition of Painting and Sculpture by Women Artists for the Benefit of the Woman Suffrage Campaign, Macbeth Gallery.

21

September 29, 1915, Evening World, "Women Art of Suffrage Cause is Fine Exhibit," review of the Exhibition of Painting and Sculpture by Women Artists for the Benefit of the Woman Suffrage Campaign, Macbeth Gallery.

22 November 5, 1916, New York Times, "Water Colors and Portraits on Exhibition: Art at Home and Abroad," review of New York Water Color Club 27th Annual Exhibition.

23 November 4, 1917, New York Times "Water Color Club's Current Exhibition," review of New York Water Color Club 28th Annual Exhibition 24 February 7, 1918, New York Times, "Art Notes," review of American Water Color Society 51st Annual Exhibition.

33

January 17, 1933, New York Times, "Exhibition by Women Painters and Sculptors Opens-Museum of Modern Art has Architectural Show" by Edward Alden Jewell, review of the 41st Annual Exhibition of the National Association of Wom­ en Painters and Sculptors.

Philadelphia, Pennsylvania March 18, 1906, Philadelphia Inquirer, "Water Colors and Pastels on Exhibition at Art Club," review of the 15th Annual Exhibition of the Art Club of Philadelphia.

2 March 25, 1906, Philadelphia Inquirer, "Academy's Third annual Water Color Exhibition is Opened," review of the 3rd Annual Philadelphia Water Color Exhibition, Pennsylvania Academy of the Fine Arts.

3 March 3, 1907, Philadelphia Inquirer, "News of the Art World," review of the 16th Annual Exhibition of the Art Club of Philadelphia.

4 April 7, 1907, Philadelphia Inquirer, "Pictures Shown at Academy of Fine Arts Water Color Exhibition," review of the 4th Annual Philadelphia Water Color Society Exhibition, Pennsylvania Academy of the Fine Arts.

5 May 5, 1907, Philadelphia Inquirer, "All That is New and Interesting About Art and Artists," review of 4th Annual Philadelphia Water Color Society Exhibition, Pennsylvania Academy of the Fine Arts.

6 March 14, 1909, Philadelphia Inquirer, "Many Attractive Pictures at Art Club's Exhibition," review of Annual Spring Exhibition of Water colors and Pastels at the Art Club of Philadelphia.

February 6, 1919, New York Times, "Art Notes," review of the 52nd Annual Exhibition of the American Water Color Society

7

December 19, 1910, Philadelphia Public Ledger, review of the 8th Annual Philadelphia Water Color Exhibition, Pennsylva­ nia Academy of the Fine Arts.

26 January 8, 1922, New York Times, review of the 55th Annual Exhibition of the American Water Color Society 55th.

8

April 7, 1912, Philadelphia Inquirer, "Art Show on at West Chester," review of 4th Annual Exhibition of Paintings and Sculpture at the West Chester State Normal School.

25

27 March 18, 1923, New York Times, "Home and Foreign Art Notes," review of 3rd International Watercolor Exhibition at the Art Institute of Chicago.

28

January 3, 1926, New York Times, "Water Color Society's Show Reveals Talent," review of the 59th Annual Exhibition of the American Water Color Society.

29 January 2, 1927, New York Times, Elisabeth Luther Cary "Water Colors," review of the 60th annual Exhibition of the American Water Color Society and New York Water Color Club.

30

January 23, 1929, New York Times, "Women Win Art Prizes: Alice Schille Gets $100 Award for Best Picture in Associ­ ation Show," review of the 38th Annual Exhibition of the National Association of Women Painters and Sculptors.

31

February 3, 1929, New York Times, review of the 38th Annu­ al Exhibition of the National Association of Women Painters and Sculptors.

32 November 9, 1930, New York Times, "Alice in Wonderland"

by Elisabeth Luther Cary, review of the 39th Annual Exhibi­ tion of the National Association of Women Painters and Sculptors.

9 November 8, 1914, Philadelphia Inquirer, review of the 12th Annual Philadelphia Water Color Exhibition, Pennsylvania Academy of the Fine Arts.

10 November 7, 1915, Philadelphia Inquirer, "Water Color Club Will Open Exhibit," review of 13th Annual Philadelphia Wa­ ter Color Club, Pennsylvania Academy of Fine Arts.

11

November 5, 1916, Philadelphia Inquirer, review of the 14th Annual Philadelphia Water Color Exhibition, Pennsylvania Academy of the Fine Arts.

12 November 12, 1916, Philadelphia Inquirer, "Art and Artists Pass in Review," review of the 27th Annual Exhibition of the New York Watercolor Club.

13

August 25, 1918, Philadelphia Inquirer, "Art and Artist Pass in Review: Exhibit Shifts to East Gloucester, Where Are Shown Many Paintings and Porcelains Well Known to Philadelphians," review of Gallery-on-the-Moors exhibition in East Gloucester.

14 November 10, 1918, Philadelphia Inquirer, review of the 29th Annual Exhibition of the New York Watercolor Club.

136

12

October 1915, The International Studio, pp. 213-15, review of the 21st Annual Exhibition of Oil Paintings, Philadelphia Art Club.

13

February 1916, The International Studio, p. 293, review of the 13th Annual Exhibition of Water Colors Pennsylvania Academy of Fine Arts.

14 June-July 1916, The Fine Arts Journal, review of the 28th Annual Exhibition of Water Colors, Pastels, and Miniatures

by American Artists, Art Institute of Chicago.

15

November 4, 1916, American Art News, review of the 27th Annual Exhibition of the New York Water Color Club.

16

December 1916, Arts and Decoration 7, review of the 27th Annual Exhibition of the New York Water Color Club.

17

March 1918, The International Studio, p. 34, review of the 15th Annual Exhibition of Water Colors, Pennsylvania Acad­ emy of Fine Arts.

18 1922, American Magazine of Art, "Items," vol. 13, p. 69, review of exhibition of works by "A Painter Group from the Middle West" at the Hawaiian Academy of Design.

19

August 1924, El Palacio 17, p. 54, "It is Written: Biographical Sketches of American Artists."

20 January 1931, The Columbus Gallery of Fine Arts Monthly­ Bulletin 1, Karl Bolander, pp. 12, 17, 21, "Ferdinand Howald and His Collection."

21 February 1932, Maramor Gazette.

22

March 1932, The Columbus Gallery of Fine Arts Monthly Bulletin 2, Louise Shepard Hengst, "Alice Schille,"pp. 1, 3.

23

September 1935, Bulletin of the Milwaukee Art Institute, Karl Bolander, "Ohio Watercolorists."

138